“Life is a theatre show and we are all actors and actresses”- staging the essence of this statement, director Vasanthabalan in Kaaviya Thalaivan brings out the lives of artists in a drama company Sivadasa Swamigal Naadaga Sabha in Tamil Nadu during a time when British ruled us.

Siddharth (Kali), a destitute and Prithviraj (Gomathi) grow up and get trained under the tutelage of Nasser (Saami), a doyen in stage drama, in his drama company which is quite popular and well known. The relationship between the two forms the base for the story of Kaaviya Thalaivan which slowly gets unfurled taking in its course some losses and few gains.

The director has also aptly interspersed the freedom struggle movement and records the change in themes from mythological to social in those days in the field of drama.

The setting may be theatre, grand, colorful and bygone, but Balan has actually narrated a story of trust, betrayal, jealousy, love and the varied human emotions using this as the milieu with his characters.

Technically very sound, Kaaviya Thalaivan is marked by excellent performances and production values. Balan has brought alive in front of us the stage, the makeup, the color and the myriad other things that go into a drama production of those days.

Kaaviya Thalaivan unabashedly belongs to Prithviraj and Siddharth who with their range and prowess play it straight and true. If the sequence when Siddharth curses his guru Nasser will stamp the actor of his histrionics, Prithviraj’s confrontation scene with Vedhika expressing his love will earn him brownie points. In the first half when the slot opens up for the rajapart, the gleam and glint in his eyes clearly prove what a talented artist he is. For Vedhika, it’s a role of substance as Vadivambal and the big eyed actress has utilized her opportunity completely. Her traditional face comes handy in Kaaviya Thalaivan.

Once again Nasser establishes that he is an actor par excellence. Although Anaika’s role is limited the girl delivers it decent. The peripheral characters are well etched out and Thambi Ramaiah, Singam Puli, Ponvannan, Kuyilee give out a performance of standard.

Kaaviya Thalaivan as promoted, certainly belongs to A R Rahman and his brilliant tracks. It is also to the credit of Vasanthabalan that the songs travel well within the framework of the script and none of it is forced. As the film is all about stage play at a time when music dominated, the film renders a rich musical experience. The opening number ‘vaanga makka vaanga’ stands out for its brimming energy and enthusiasm and portrays the way the plays are promoted those days.

Lensed with amazing rigor and in sync with the theme, Nirav Shah brings out the feel of the period with perfect lighting and angles. With ample scope, Santhanam the art director’s hard work is evident throughout.

Credits are definitely due to Vasanthabalan for his efforts to showcase the tradition of performing arts in a bygone era to the whatsapp generation. Kaaviya Thalaivan sure is a different viewing experience, give it your time and patience.